Muse Magazine - Aug/Sept '11 Edition

AUG-SE

P’11

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Red Hot Chili Peppers

MOREIRA CHONGUICA

TerMinaTryX DeiTy’s MuSe

CONTENTS Proud Supporters of SA Music!

lifestyle 4 6 8 9 12 13 14 16 20 21 22 23 24 25 26 27 30 32 34 35 36 38 39

From The Editor You Look Like You Could Use A Little Volume...

The Red Hot Chili Peppers - Still in Fruit The Red Hot Chili Peppers - Still in Fruit Royally Bangin' Royally Bangin' Lenny Kravitz: 'Cos It Doesn't Matter If You're Black Or White jezebel's VPL: Hey Meister!

Terminatryx: Iconoclasts In Africa Terminatryx: Iconoclasts In Africa Mark Haze: South Africa's Next Rock Idol?

Deity's Muse: Decade of Destruction The Wild Eyes: Fun (E) Spelt Backwards Is (E) nuf The Wild Eyes: Fun (E) Spelt Backwards Is (E) nuf Inside The Machine: Music News Inside The Machine: Music News Jazz Legend: Moreira Chonguica Tribute: Jane Marie Scott New Albums New Albums Game Reviews Venue Guide & Live Events Venue Guide & Live Events

Published & Distributed by: Coalition : Tel: (021) 913 8423 | Fax: 086 544 1361 info@museonline.co.za | www.museonline.co.za Magazine Publishers: David McKinley, Thomas Whitebread Managing Editor: David McKinley - dave@museonline.co.za Music Editor: Dave Mac - dave@museonline.co.za Sales Director: Thomas Whitebread - thomas@museonline.co.za Contributors: Dave Mac, Thomas Whitebread, Terri Love, Mary Honeychild, Mickdotcom, Paul Blom, Alan Ratcliffe, Alistair Andrews, Kurt Slabbert, Damien Albetto, jezebel, James Rose-Mathew, Jonathan Pike, Chantall Nortjé, Deborah Rossouw, Sergio Pereira, Nicolai Roos, Steven Jacobson, Craig Wilson, Johann Smith, Eliza Day, David Chislett and Matthew De Nobrega

SALES & ADVERTISING ENQUIRES: Thomas Whitebread - (021) 913 9443 | 082 889 2047 Dave McKinley - (021) 557 1549 | 084 209 0168 SUBSCRIPTIONS AVAILABLE: subscribe@museonline.co.za Never miss a copy! Receive your personal copy SA’s only FREE magazine dedicated in promoting Live Music, FIRST! Magazine enquiries: info@museonline.co.za MUSE is published six times per annum in SA only DISTRIBUTION: info@museonline.co.za MUSE is nationally distributed to over 300 carefully selected outlets ranging from: Retailers of Musical Instruments Gear & Equipment, Studios, Colleges & Varsities, selected live music venues and more...

To Find your nearest outlet email: info@museonline.co.za No part of this magazine may be imitated or reproduced in whole / in part or online, without the permission of MUSE Magazine. Any views, opinions & visual material expressed in MUSE Magazine by contributors are not necessarily shared by MUSE Magazine or its staff. We do not accept responsibility for any omissions or mistakes, as we do everything possible to make sure all information published is accurate.

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MUSE Magazine 2011

muse | three

EDITION 16 AUG/SEPT ‘11

er... r newswleottrd : Join ouem e ail th

Simply nline.co.za s@museo ‘join’ to new

A

t what point do we as part of the South African media stop whitewashing our beloved music industry and start asking some hard questions about the state of things here?

Now clearly our mission statement at Muse Magazine has always been to promote music in South Africa, first and foremost by creating a platform for bands and artists to be featured and to promote their albums, tours and generally raise their collective profiles. In so doing we also have to be mindful of remaining interesting in what we write so that you, our beloved readers, don’t find us boring and pointless. This in itself can be a challenge, trust me.

Even on the international front there is a serious shortage of newsworthy misfits to interview about wild antics and crazy rock ‘n roll mayhem. Okay sure, Amy was a wild-child but I kinda felt sorry for her. She never looked comfortable in her own skin. But who else?

The Red Hot Chili Peppers [our cover feature] are all grown up and whilst they’re still a bunch of mad characters and a formidable group of performers, if you watch the series of interviews we’ve put together @ museonline.co.za you’ll soon see the clean cut Anthony Kiedis and Flea talking about their new album which is great, but not the wild crazies of yesteryear. To be honest RHCP deserve to be clean and responsible these days – they’ve certainly paid their dues and given the music press years of great stories!

Now don’t get me wrong – I’m not advocating drug-fuelled mayhem by local bands – that would be, ahem, erm... irresponsible of me? But what I am saying is that there is a serious and worrying sense of predictability and responsibility that belies what crazy creative music is all about and with that we, the music fans, are being left with more and more homogenous, too well planned radio music that just sounds so done!!!

It’s not just the bands in SA that are playing it too safe though. It starts with the crap on the radios – even college radio stations all sound the same – and the major record labels who have no real clue how to deal with the modern business model of how to sell music.

So they simply stick to the safe and tried formula to eek out the last drop of revenue from an ever shrinking money pot. You will find it said within the pages of this here edition of Muse, not by me, but by band members (The Wild Eyes) and journos (Eliza Day) – music is being made to sound like something successful and not being made to sound like a mad collective of creative force.

So where does this leave us? Well, last summer saw the music festival season really flourish attendance wise – but the one thing the promoters will no doubt find challenging this year – booking enough interesting and diverse bands that don’t all sound the same or sound like something already done!

‘Cos let’s face it... the fans are going to start looking for their entertainment elsewhere.

Or is it just me that’s missing something?

Dave Mac

Bored?

EDITORIAL CONTRIBUTIONS: Feature Writers and Columnists Mickdotcom – Features Writer Strange he may be at times but that’s why we love him so. Mick has an extraordinary talent with words and an even more extraordinary taste in music. He brings a much needed eccentric edge to MUSE. jezebel Wordsmith and worldwide wanderer, jezebel now makes her home between the lines, writing for print and pixel. She enjoys dissecting the arts and their contribution to (sub)culture(s) as well as encouraging critical inquiry into everyday existence. www.wwwordup.blogspot.com / www.facebook.com/jezebellll

jezebel © Jonx Pillemer

muse | four

EDITOR’S NOTE

James Rose-Mathew Forever roving around UK and Europe, the restless James has an eye for a good story and an ear for good music. Whether he attends a massive electronic outdoor festival, or the heaviest of heavy metal shows, you can be sure James manages to somehow balance his mind between having the party of his life and actually getting the story.

Hugely passionate and equally adept we always look forward to his next venture abroad as he give us the lows and highs of some of world’s best indie artists around today.

Kurt Slabbert – Play Better Guitar Kurt completed his studies at the Guitar Institute in London in 2003, and moved back to SA to take up a teaching post at COPA. He also runs his own production company called Bluenoise productions that writes for radio and television. He currently plays for Sama nominated band, Jam, on Tuesdays and does various live sessions and studio work.

Kurt endorses line 6 gear. Check out www.bluenoise.co.za and www.realguitar.co.za Alistair Andrews - Play Better Bass Alistair is a professional bass player, music technologist and producer. He specialises in 6 and 12 string bass (preferably fretless). He has performed with international greats such as Phil Driscol, Efrain Toro, Alvin Dyers, Winston Mankunku, Merton Barrow, Errol Dyers, Robbie Jansen, Harold Jephta and many more. He also lectures music technology with one of Africa's top Jazz and African music programs at The University of Cape Town. Alistair endorses WARWICK Basses and strings, MEC pickups, SWR amplification and DIGITECH effects. He also runs the high-tech & digital section at Paul Bothner Music. Http://www.alistair.co.za Jonathan Pike - Your Private Universe Jonathan currently works as an Audio engineer and instructor at Cape Audio College. He has also in the past managed a theatre and worked as a Lighting and Sound engineer at the University of Kwazulu Natal Pietermaritzburg.

Alan Ratcliffe - Software Reviews & Tutorials Alan is the author of the Electric Guitar Handbook and is busy writing a book entitled Hotrod Your Electric Guitar. Find out more about him at www.ratcliffe.co.za or discuss all things guitar with him at www.guitarforum.co.za

muse | six

COLUMNIST

By Eliza Day Photo: Valentine Celliers

When did hanging around outside on the pavement become an option?

Y

ou know you’re bored of your company when you start noticing split ends in your fringe and are combing them out all over your face and lap. Or when you blink one eye at a wall and then the other, just to get a different perspective of whatever you’re looking at.

Personally, the music scene in SA has become a little dull. The company of some of my most favourite bands over the years is still there but what else is there? If I really think about it, I haven’t been introduced to anything new or exciting to emerge from the industry the entire year. Usually I’m the one amongst us who is always optimistic to say the least about local bands and sure, there is a lot of music coming out of the culture but I feel like the glitter of creativity is waning. Now, I’m looking at the line up for the weekend and well... will it be a case of showing face so as not to be boring or will it be boring to simply show face?

Disjointed as our music scene is and disappointed as those may feel, I am not one to just bitch and complain because I only watch the same three bands every month. So, just as when you are bored at work and start doing

YOU LOOK LIKE YOU COULD USE A LITTLE VOLUME...

unusual little drum rolls with your pen and Google pictures of very big cats, I have been trying to do something different and go places for different sonic experiences. It’s a bitter pill to sometimes swallow but I figure feeling out of place like a douche is better than sitting at home and wishing I’d made the effort while listening to Grinderman 2 on repeat.

Most recently I went to a DJ set in Cape Town where the vibe was hard 80’s anthems remixed. I’m sorry. I did dance. I didn’t mean to but it was funny.

For five minutes. Sometimes I feel like the music at clubs is just elevator music to those inside getting wasted and looking to get laid. The night ended early and felt like a waste of time.

Before that I’d gone to a couple of fairly underground events where the beat was mostly commercial hip-hop, 90’s ecstasy inducing club crap and then occasionally with some sincerely interesting dance tracks. I felt weird, imagined my face gave away my feelings as it always does but still had a little jam on the dance floor and left politely.

Paying a trip to Durban a couple of weeks ago did leave me feeling slightly more optimistic after watching Tumi And The Volume at Unit 11. The band’s

been around for ages but the performance was damn cool and proves there is still a high standard in SA music without a doubt. The set the DJ played afterwards was practically worth going for in itself. Give me some psychedelic rock and roll and I’ll dance till dawn. Says a lot about me and how open I am to innovation, doesn’t it?

I believe in dissidence to keep the strong, strong and the fire alive in everything, especially music. However, I don’t think this is the case with SA music. I think it’s all a little wishy-washy and has no significant direction as to where it’s going or what they are trying to do. It feels copied and characterless at times and could do with some radical intervention.

With the festival season fast approaching (I can feel it. My bones tingle) I hope to feel rejuvenated after this dreary winter of soupy music experiences. I’m not going to be checking the polls to see who’s in the running for Daisies or anything else.

See what happens and hope to be surprised. Perhaps summer can produce something new, hard and solid that kicks us in the face and stops the dialling tone.

muse | eight

COVER FEATURE

By James Rose-Mathew

RED HOT CHILI PEPPERS:

T

Still in Fruit

he Chili Peppers have been around for as long as I have walked the Earth. 28 years.

They have not only survived but indeed thrived through thick and thin. Their history reads like the Shakespeare of rock ‘n roll drama and they reside comfortably alongside the likes of the Rolling Stones, Metallica and Motley Crue in the pantheon of rock royalty.

Upon receiving this assignment, a flood of memories from my past arose that have had the Red Hot Chili Peppers trademark sound stamped into them. It ended up feeling rather strange to take heed of the fact that many noteworthy moments in my history, swirling somewhere in my grey matter, are moving in rhythm to the funk swagger of the Chili Peppers.

I'm not even that into the group and yet their energy has been forever

mapped onto so many recollections from days gone by. Some examples my first true rebellion in the face of that psychic nightmare called High School was soundtracked by RHCP amongst others: bunking school for the first time to go watch the Beavis and Butthead movie, the Peppers' Love Rollercoaster championing my defiance in the dark theatre. I hooked up with a lady or two at house parties, all nerves and excitement and clandestine alcohol consumption, where the Chili's most outstanding record to date Californication seemed the only album anyone cared to listen to. My first year post-matric - spent waiting tables, living in dingy digs, pounding the unknown streets of a new city and smoking copious amounts of dope - everywhere seemed to vibrate to that year's By The Way. Fast forward to 2006 and the

ubiquitous sound of Dani California (the group's fastest selling single), which for me now smacks of resignation. The track was the new big thing on the airwaves as I was squaring up to the frighteningly wide world of career prospects, adult responsibility and that rest-of-my-life post-graduation feeling.

And then the soundtrack stops.

After a world tour supporting the sprawling record Stadium Arcadium, the Red Hot Chili Peppers decided to take an indefinite hiatus, spurred on partly by bassist Flea's desire to get some perspective away from the band, citing that it had become something dysfunctional, and the group's general e x h a u s t i o n f r o m n e a r- c o n s t a n t recording and touring. It's been half a decade since the last album and it's interesting to look at what each member embroiled themselves in while away from the RHCP behemoth.

muse | nine

COVER FEATURE “Flea has spoken out about the album being a marked departure from previous outings whilst retaining the fundamental Chili Pepper magic.�

Naturally, making music remained a pivotal aspect in most of the band's time apart, the only exception being vocalist Anthony Kiedis who spent the lion's share of his free time concentrating on raising his son as well as developing a television series tentatively titled Spider and Son for HBO, loosely based on his 2004 best-selling autobiography Scar Tissue.

Drummer Chad Smith appears to be a machine, and one that has been programmed to bang drums relentlessly. In his time away from the Chili Peppers, he has appeared behind the kit of a number of outfits. Black Sabbath bassist Glenn Hughes employed Smith's stick-work on numerous solo outings. In 2008, he formed a jazz inspired improvisational funk-rock group humorously titled Chad Smith's Bombastic Meatbats, which to date has released two albums. He beats the skins in supergroup Chickfoot, a band filled to the brim with talent in the guise of Joe Satriani and Van Halen's Sammy Hagar and Michael Anthony.

Smith recorded drums for the five time Grammy winning album Taking the Long Way by the Dixie Chicks and cut a children's album with Dick Van Dyke and Leslie Bixler which has recently been named the all-time favourite children's record by MTV. Flea, who many hail as one of the best funk bassists alive, unable to rest on his laurels, decided to enrol himself in a university music course, studying music theory, composition and jazz trumpet for a full year in an effort to greater understand his craft and unlock new possibilities in his playing. He found time too to perform bass duties in Thom

Yorke's solo project when it finally blossomed into a riveting live act, eventually dubbed Atoms for Peace and performing a landmark show at the Coachella Festival in 2010.

The most interesting eventuality of the hiatus was the departure, for the second time round, of guitarist and, many consider, musical shaman of the group, John Frusciante.

He decided to leave the band in order to again concentrate on his solo work. This sparked debate amongst fans as to the future of the band since its widely recognised that Frusciante brought to the RHCP a particularly potent elemental force. The album recorded during his first sabbatical from the Peppers is regarded as their weakest effort to date.

In the time since his departure, he has released a solo album, worked with The Mars Volta, kick-started an electronic band called Speed Dealer Moms, released several highly experimental works with Omar Rodriguez-Lopez [The Mars Volta] and guested on numerous recordings.

For a time it appeared that the Red Hot Chili Peppers tenure as one of the world's most highly regarded bands might be coming to an end.

However, Kiedis and Flea were adamant that the Chili Peppers still have something to say musically and decided to continue working on material. They announced that long-time friend and frequent RHCP sideman Josh Klinghoffer would be taking up guitar duties. Rehearsals and recording began in earnest and now the RCHP's have a new album in the bag, called I'm With You, and set for imminent release. Flea has spoken out about the album being a

marked departure from previous outings whilst retaining the fundamental Chili Pepper magic. He's gone on record stating that he feels like this new music is comparable to what the Rolling Stones did with Exile on Main Street.

Klinghoffer has been described by his new bandmates as a very textural, sublime and poetic musician who has been instrumental in creating their new offering, bringing with him a distinctive voice and tone.

And so it is that soon there will be a new soundtrack to swirl into my memory as its fairly certain that the album will be placed onto heavy rotation around the world and will work its way into the landscape of some aspect of my life that retrospectively will feel markedly apt and oddly comforting.

Check out a video interview with Anthony Kiedis and Chad Smith as they explain the initial writing process and Josh joining the band. I'm With You coming 30 August 2011.

Watch the video on your phone by scanning this tag or go to www.museonline.co.za to watch on your computer.

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photos by

muse | twelve

EXCLUSIVE INTERVIEW

By Craig Wilson

Royally Bangin’ Guitarist Sam Stratton has come a long way since joining Royal Bangs, an indie rock three-piece from Knoxville, Tennessee. More specifically, he’s gone a long way – all over the world, in fact. The band has had three albums, as many labels, and more than a little good fortune along the way. We tracked down guitarist Sam Stratton between European shows for a little insight into how this American, garage rock band have gone from intimate club shows to international tours.

R

oyal Bangs’ first album came out on independent label Audio Eagle Records.

Home to only a handful of bands – most of them from Ohio – its claim to fame is that it was founded by Patrick Carney of The Black Keys. Carney signed Royal Bangs after hearing them on the now antiquated, and largely abandoned, MySpace.

I ask Stratton if Carney really found the band online? “Yes, he contacted us through MySpace. We sent our album to Audio Eagle because Houseguest, another band on the label, had played in Knoxville.

It's strange to think that something

that is so outmoded now has played such a relevant part in this band's life.”

Stratton says he thinks the main reason Audio Eagle Records is no more is that “Pat was busy kickin’ ass in The Black Keys. He's a hard worker and a good friend of ours, but it's hard to be the overseer when you’re overseas. He helped us in a huge way and still continues to give us advice.

Patrick, like us, wanted the band to get bigger. He's the one who suggested Glassnote.”

Glassnote Records, home to Mumford & Sons, Two Door Cinema Club, and the solo efforts of Bloc Party’s Kele Okereke, released Royal Bangs’ third album, Flux Outside (reviewed in Muse - Jun/Jul ’11 Edition), in March. Their second album was released by German label

City Slang, which also released the bands’ debut in Europe the year after its launch.

City Slang specialises in distributing North American bands in Europe, including the likes of Arcade Fire, Calexico, SA’s own Dear Reader, Nada Surf and The Notwist. It seemed a great fit for Royal Bangs’ sound and ethos, so I ask Stratton how the label ended up picking up Royal Bangs’ debut for the European market. “We’d driven up to NYC to play a showcase at the Cake Shop during CMJ. It was really wild – everyone was trapped in this cramped, drunk basement by a major downpour. I think it was the first show our fourth, and last, bassist played with us too. The owner of City Slang was there and really liked it and offered us a deal.”

Arguably, despite having a smaller stable of artists, Glassnote is even better suited to Royal Bangs’ sound. I ask Stratton what prompted the band’s decision to sign with them? “They came highly recommended, they were small, they were experienced, and they were genuinely sincere about giving us creative control over our music,” he explains. “I'm sure that it was the best decision we've made. The team is amazing and the president, Daniel Glass, is a great human being.”

One of the peculiar perks of being a band that’s doing well is that your idols suddenly become peers. I wonder aloud if any of Stratton’s musical idols proved to be somehow disappointing in person. “No, not yet.

Soon. All the successful musicians we've met have been painfully decent, so it's been a little frustrating. We haven't given up hope though,” he laughs.

Royal Bangs’ most recent release was produced by Dave Fridmann, a former member of Mercury Rev and producer for all of their albums and all but one of the Flaming Lips’ releases.

Fridmann has worked with legendary independent artists like MGMT, Low, Sparklehorse, Clap Your Hands Say Yeah, and many others.

I’m curious as to whether Fridmann asked to work with the band or vice versa. “We definitely asked to work with him. He's been one of our heroes since high school. He was brilliant and very comfortable to work with. We'd love to work with him again.”

I ask Stratton if he thinks audiences for live music are decreasing, increasing, or neither? “It's hard for me to get a good perspective on it. The audiences at our shows are

getting larger and when we're home the audiences at local shows seem to have doubled in size. There are more festivals than there used to be. I want to believe that more people are going out to shows.”

With the current culture of iTunes singles and piracy debate I’m curious as to whether the Royal Bangs think it more prudent to focus on singles or albums... “It's always more important to focus on albums,” says Stratton seriously.

We talk about the stresses of touring, but Stratton downplays the pressures of seeing his band mates almost every waking moment. “It's not hard. We've been friends for so long and we know each other way too well.”

This intimacy seems to carry over to the bands’ performances – polished but constantly reworking and finetuning.

Stratton suggests that it carries over to the songwriting too. He says the band generally writes the music collectively, with vocalist and multiinstrumentalist Ryan Schaefer writing all the lyrics.

Flux Outside is certainly Royal Bangs’ most successful album to date.

I ask Stratton what the benefits are, if any, of having a few albums beneath one’s belt before achieving a major breakthrough, as opposed to sudden and early success?

“I don't know, we never had sudden and early success”, he laughs.

“It seems like it would have been awesome, but I can't say that I'd change anything we've done. Things are going well at the moment, but we are thinking about what's next.”

Next? “I hope we can do one album per year and we are putting out some remixes soon.” Stratton says the

band just wants to keep touring, keep reaching more listeners, and keep pushing themselves as musicians.

Finally, before letting the guitarist get ready for the evening’s show, I ask him which single band he would choose to listen to for the rest of his life if forced to. I’m pleasantly surprised when, contrary to my classic or psychedelic rock expectations, he simply says: “Sly & the Family Stone”.

Perhaps in honour of the favour the service indirectly did the band in its early days its MySpace is still going – complete with the novel genre description of “Japanese classic music/ showtunes/western swing”.

Make no mistake, Royal Bangs rock, however you choose to describe it. I think it’s safe to say we’ll be hearing a lot more of them in years to come. I, for one, am delighted.

Watch Fireball from their latest album on your phone by simply scanning this tag...

Or go to www.museonline.co.za to view online.

‘COS IT DOESN’T MATTER IF YOU’RE BLACK OR WHITE…

muse | fourteen

FEATURE

By Sergio Pereira

Lenny has been a modern day prophet of the power of reinvention…

H

aving sold over 35 million albums worldwide, received 4 Grammy Awards, and quite often touted as the sexiest rock star alive, Lenny Kravitz is somewhat of a living legend. Over his 20-year musical career, Lenny has transcended genre, style, race and class to dabble in various influences of '60s and '70s soul, rock and funk.

A Modern Day Madonna Whether he is summoning the duelling crunchy guitar spirits of Jimi Hendrix and Chuck Berry on Are You Gonna Go My Way, grinding down his best Joan Jett impersonation on American Woman or even turning down the lights on the pianodriven I’ll Be Waiting, Lenny has been a modern day prophet of the power of reinvention.

Much like Madonna or David Bowie (one of his influences), his uncanny knack of knowing when and how to redefine has been one of the keys to his staying power and importance in both the pop and rock music circles. Undoubtedly, this coupled with his gift of being able play a multitude of instruments has only facilitated his numerous evolutions, as he not only looks good onstage – but he is also a true musician who knows what he’s doing.

Also, just like the Material Girl and Ziggy Stardust, Lenny has proven that his creative skills aren’t just limited to music, as he has appeared in the Oscarnominated film, Precious, and has just been cast in the role of Cinna in the film

adaptation of Suzanne Collins’ novel, The Hunger Games.

Coming Full-Circle?

At 15, Lenny was already harbouring hopes and dreams of becoming a rock star and let nothing stand in his way as he left home, slept in cars, slept in friends’ cars, and even recorded an album independently when the labels told him his music wasn’t “black” or “white” enough.

Perhaps, this race issue is one of the reasons why his ninth studio album, Black and White America, is so personal and dear to Lenny, as he recalls his own family history and the experiences of his parents as an interracial couple in the ‘60s. "People used to yell obscenities and spit at them," he says, "and this was in New York City, not in the South. So it's about me personally and about the situation with race in this country. Maybe we are beginning to move on, but there's still a lot of people who want to hold onto their old ideas."

Even though the topic of racism is one usually associated with anger and sadness, the tone of Black and White America is that of faith and hope, according to Lenny. “This world is a challenging place. The interesting dynamic is when you are in the middle of chaos and you are able to find inner peace.

I choose to remain optimistic, even in the face of negativity and destruction.”

from his youth. “A lot of this record seems to be influenced by what I was listening to in junior high and high school. Soul, R&B, bands like Earth, Wind and Fire, Quincy Jones productions like the Brothers Johnson – these were the type of records that taught me so much about producing and arranging music."

Although, it’s a rather used and abused cliché by musicians, Lenny does believe that Black and White America is his most seminal release. "I think it's the best work I've done to date," he says. "It’s a great balance of where I’ve been, where I am and where I am going.”

He adds that he feels this album to be a celebration and “anybody listening is going to feel it and be uplifted by the spirit of the music.” Come the end of August, the fans will be the judge of that. Personally, we hope that Lenny delivers another love revolution...

To watch Lenny's new video for Stand from the forthcoming album Black And White America out in August go to www.museonline.co.za or scan this tag to watch it on your Smartphone.

Another Love Revolution?

Recorded in the Bahamas and Paris, Lenny admits to the music of his new record being inspired by the original influences

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muse | sixteen

COLUMNIST

Hey, Meister!

By jezebel Photo : jezebel

This baby's got the blues, Pop(pie), which is probably why she's smiling. To her, jezebel's VPL is a Vibrant People List. Pretty on point, she proves it by being one herself, and that individual interpretation counts more than a metronome.

A girl with a guitar is one thing; halfway to maestro is something to sing about.

Y

es, Natasha Meister is shy, but she has guts and good sense and man can this woman sing.

At a less-than-legal 20, she has her own solo album out and a quiet, can-do attitude that keeps her in fine company. So why, then, is she singing about not wanting to be alone anymore?

Real life and true love come up in your lyrics often. Do you ever question the themes you return to?

I’ve been song writing for the past year and a half, so I guess the easiest subject is love, or feelings - emotional stuff. I’ve never written about anything political.

Bob Dylan sang about everything from Hurricane to his breakfast, and he was pretty political.

Now is the time I need to start taking risks with my song writing, and stop writing about love. I guess I’ve just come out of my teenage years, I just wanted to write about me, but after that, it’s …how does the world feel... so that more people relate.

Speaking of relating and risk taking, you've jammed with Dan Patlanski. Tell us!

It was at Die Boer. During sound check we worked out two or three numbers just covers - so we knew the songs, but his band was so tight, they worked it out first time.

Good feeling?

Definitely, they really followed me - they paid attention. I haven’t jammed as much as I’d like to with local musicians. There’s a lot of shyness, and insularity with bands. I don’t know what it is, maybe it’s a comfort thing; you're doing your own thing and you know it’ll be fine, but if you’re with another band, and something goes wrong… but once you go out there it’s so much fun.

Out there… like Dubai with Jump Media, Jimmy Thomas (who sang with Ike Turner and recorded with Rolling Stones)and Michael Roach (who taught

by Robert Lockworth Jr., taught by Robert Johnson aka the ‘founder’ of blues). Wow. But was it weird in that synthetic, desert city?

It took me a while to feel comfortable; they are all guys; all older than me. It was a little scary, but they took care of me, and we got to know each other .

They didn’t put themselves higher than me, they made me feel quite comfortable in that way. Even in my own headspace, I felt a little intimidated, I remember putting myself down for some reason. I was kinda emotional.

Pressure does that. The feedback from the promoter was positive, though; the word used was 'professional'. Not bad for a beginner!

It’s a learning experience, being on the road.

www.natashameister.com

So did you learn to play guitar before you learnt to drive?

Yeah! At 13 I started; my dad taught me.

And he and your mum brought you to South Africa in 2008.

First we were living in Wilderness – Soft landing.

Yeah, that was really quiet; but I was like,' this isn’t actually working for me.' So my parents moved to Cape Town, they knew my music was very important to me. My dad would come with me, downtown, and I felt like such a loser; but we didn’t know anyone, and he said it wasn’t safe.

We would walk past places, walk in, and tell them hi, I sing, do you have an open MIC? Just like that? Or did you sing in Canada before that?

My sister and I started singing in churchgospel music. I was six and she was nine. Then in senior homes, senior people seem to really enjoy young people.

And you enjoy older ones. Your band members, for example.

On a musical level we click. They’re almost twice my age. Sometimes I think young people in bands are mostly in it for fun; I suppose that’s fine, but …

Most of those ones fall away. And the music remains.

It’s good to have fun, but it’s important to be serious.

www.audiosure.co.za www.meteormic.co.za

muse | twenty

FEATURE

By James Rose-Mathew

T

Iconoclasts in Africa

here is an unfortunate dearth of truly unique bands in South Africa. It would appear that despite this country's 'rainbow nation' affectation, the m u s i c s c e n e i s nevertheless filled to the brim with insipid rip-off outfits doing their damnedest to imitate the rock charts and each other.

So often an evening out watching live music will end up feeling like a single song stuck on repeat. Diversity and originality do not appear to be soughtafter traits for an up-and-coming band and it’s a somewhat tragic state of affairs.

Trying to pluck names of groups on the circuit that buck the trend is quite a task and the list is woefully short - Lark, The Wild Eyes, The Great Apes, Mr Cat and the Jackal, BLK JKS, Die Antwoord and Te r m i n a t r y x a r e t h e o n e s t h a t immediately spring to mind.

Terminatryx, brainchild of Paul Blom a n d S o n j a R u p p e r s b e r g, a r e a particularly interesting example because they've had incredible longevity in a notoriously fickle local industry, one where when tastes change, bands once popular can simply evaporate.

Terminatryx began operating almost ten years ago and have maintained a unique position in the alternative music scene, straddling a

wide range of genres with a flavour that is very rare on the local scene.

Paul says of the project, “it's an acquired taste, simply because it doesn't slot neatly into the local scene” but its continued success and persistent presence can be put down to the groups 'stubborn' artistic vision and the fact that, as Sonja points out, they “just do it for themselves.” Further, “we come from very diverse musical backgrounds, so when we came together it was inevitable that the sound was going to be something original.” This attitude of not pandering to an audience has clearly worked wonders as Terminatryx has an illustrious history that only a handful of local bands can match.

Their very first gig, back in 2003, was a support slot for renowned Darkwave outfit Diary of Dreams on their SA tour. This fact alone cements the band’s unique standing in the industry but their achievements continued to mount over the years. Terminatryx also performed as openers for VNV Nation, one of the world's premiere EBM bands, as well as for Sheep on Drugs and Sigue Sigue Sputnik's very own Martin Degville when he toured these shores recently.

They have featured notably over UK airwaves, garnering a slot on the bastion of hard-rock reportage Kerrang Radio.

In 2006, the band was invited to perform at Berlin's PopKomm as part of a

South African showcase. They were one of only 4 bands invited. They have since been invited to play at a number of SA's finest alternative festivals such as Ramfest, Noisefest and Metal4Africa's Summerfest; as a live act, rounded out on stage by Ronnie Belcher on drums and Patrick Davidson on guitars.

Terminatryx is a very fluid beast and has appeared in multiple guises over the years. Sonja explains that this allows them “to slide into any kind of vibe and work any crowd.” It’s this malleability that has seen them on some distinctly peculiar line-ups, alongside rockabilly outfits for instance, yet, as Patrick points out, “they are great to play, as you find a more open minded crowd and get surprisingly positive feedback and different perspectives on the show.”

However, one drawback that Paul elaborates upon is how the band have been consistently limited by a lack of facilities in local venues – “Terminatryx has always been a very audio/visual experience and we've got fantastic video feeds that sync with the music but have found that venues simply don't cater for it.” It’s a shame considering how cinematic their sound can be and, in a wider sense, as it ought to be a priority for venues to cater for such performances and local bands could up their game if given the appropriate forum.

muse | twenty one

FEATURE

Terminatryx have released a single critically acclaimed selftitled album and are currently working on a very ambitious, pioneering remix album. They have roped in the likes of Battery 9, NuL, Axxon, The Awakening, Mr Sakitumi, Sheep on Drugs and Martin Degville to reinterpret their catalogue. Paul says that the project is mostly complete and he is thrilled with the mixes that have been delivered, ranging from avant-garde renditions through aggrotech, dance and acoustic versions of the signature Terminatryx sound.

Also recently released from the band is a polished music video for their single Virus. Produced exclusively by the band and directed by Paul himself with the help of a number of generous and extra talented friends, the video is a superbly crafted horror-themed showcasing of their look and sound.

Replete with its professional creature make-up and high production value, the video has been requested for screening by the Sci-Fi London Film Fest and EerieTube.com and has become the first South African music video to feature on LoudTV.net. They have also turned out an extended short film version of the piece.

Paul and Sonja have also both been instrumental in fostering the alternative scene in a unique and positive fashion.

They have birthed numerous independent film festivals - a perfect platform for the weird and wonderful gems that seldom find their way to the mainstream - X Fest, Celludroid and Horrorfest have become fixtures on the calendar for many. Paul compiled the first-of-a-kind compilation album Kopskoot! - An Afrikaans alternative album from South Africa's finest. They also spearheaded a fascinating group called the Makabra Ensemble, consisting of Paul and Sonja along with members of Lark and various other musicians, who each year create a live soundtrack for classic silent horror films such as Nosferatu, The Cabinet of Dr Caligari and Maciste in Hell at their annual Horrorfest. They have also taken this intriguing performance group to SA's largest rock festival Oppikoppi.

Terminatryx's strength lies in their iconoclastic tendencies and pioneering spirit, pleasing themselves artistically first and foremost and it has resulted in many important highlights within the South African alternative scene. There is little doubt that Terminatryx will continue to break new ground for a long time to come.

To watch the video Virus on your phone simply scan this tag...

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Or go to www.museonline.co.za to view online.

muse | twenty two

FEATURE

I may be a rocker, but I’m first and foremost a musician…

By Sergio Pereira

Mark Haze

South Africa's Next Rock Idol?

“Isn’t he the dude who used to sing for Flat Stanley?”

“No, bru, I’m sure he was in One Day Remains.”

A

year ago, this was normally the kind of argument that people would have when they ’d see Mark Haze performing with his band, 12th Avenue – yet now, after his participation in this year’s edition of Idols, the Top 15 contestant is a pretty wellknown name to many South Africans.

Chatting to Mark, I ask how he’s adapted to the almost instant fame and fan recognition. “Pretty well, so far. Without the fans, you're nothing. So I know and live by that. The fact that people want to speak to me confirms that I'm doing something right,” Mark says.

Nonetheless, it must feel strange that he’s been in the music game for a decade now, but is only really getting a lot of attention after his Idols experience. “Not at all,” Mark states. “I knew what I was signing up for - bands need to work really hard to get recognition. There are times when you find yourself in the right place at the right time, but most comes down to having the right team and straight-up hard work. I have the team and the business know-how, so all I need is the exposure and insight from the best in the biz. From then on, it's all about delivering the goods, being an artist, and hoping that fans will relate to me.”

With all the good attention, Mark has

also found himself dealing with the whacky to the just plain indecent.

“Many…oh so many! From marriage requests to band requests to hilarious things, like, "Please come sit in my room, so I can stare at you ‘til I fall asleep". It comes with the territory, though,” Mark laughs, before adding that a grown man has also requested for him to sign his ass.

Elitists or snobs?

As expected, Mark’s appearance on Idols has brought the wrath and criticism of the rock elitists, who feel that entering the competition isn’t really rock ‘n’ roll. “You call them elitists, I call them snobs,” Mark smiles. “Don't get me wrong - not all rock enthusiasts are like this. There are just a few out there who feel that if you don't play rock, you suck. I may be a rocker, but I’m first and foremost a musician, and that means I love and appreciate all forms of music. People need to realise that just because they don’t like a certain style, that doesn't make it bad.”

Perhaps, this is intertwined with the general misconception that professional musicians are still earning millions of dollars from album sales? “The general public tend to think that we just sit around, get wasted, do a show here and there, and live off the royalties,” Mark laughs. “It’s so much harder than you think! This is a fulltime job. In the old days, record labels

would take care of everything, which could possibly leave the artist in a bit of a rut should taste change. With the invent of the digital age, artists have to not only perform, but also get involved in the business end of the music.”

The future for Mark and 12A The one topic that we cannot avoid is the future of 12th Avenue should Mark win Idols. Many have predicted that the band will end, if Mark is crowned the winner.

Mark, however, denies this, and says, “12th Avenue will always go on. I started the band and have no intention of stopping it. The great thing about this band is that we've become brothers. They support me in this.”

Finally, I have to ask Mark if he plans on becoming a “Bieber” or a “Daughtry”, if he wins the competition. “Daughtry from a musical perspective, but Bieber has more ladies screaming for him and he has way better hair,” Mark jokes. “I reckon I have some thinking to do (laughs). Seriously, though, I wouldn't necessarily follow any particular artist's route. I like to think that I have something unique to offer.” Keep it real, Mark, because, remember, Louis Gossett, Jr. is watching you...

For more information on Mark Haze, go to www.markhaze.com

Decade of Destruction We're not trying to be commercial or follow what other bands are doing…

muse | twenty three

FEATURE

By Sergio Pereira

S

o, what do you do after you’ve survived 10 years in the South African music industry, whilst never compromising on your hard rock/metal-in-your-face approach? Well, if you’re Deity’s Muse, you go to a Samba café for some burgers with a certain music journalist, who is always keen to unite rock with food; it is the true way of the Defenders of the Faith, after all.

Sticking it to the Man Sitting across from me, vocalist/guitarist, Wayne Boucher, looks rather peaceful – despite recently quitting his day job to pursue his rock ‘n’ roll dreams full-time.

Considering we are in South Africa, where rock isn’t exactly the number one - or even number two - genre of choice, I would’ve expected him to be a long-haired, goateed version of Stressed Eric.

“No, not really,” Wayne laughs. “I’m actually so chilled; it’s ridiculous.

The money thing is a bit of a worry, but, at the same time, I don’t really care much about money.

If I cared about money, I would’ve been doing pop songs. I’m happy that I’ve done it. I’ve already seen interest all over the place, just because I’ve been more hands-on with the band.

I don’t regret it at all. If you want to do this properly, you have to do it full-time.”

It’s quite interesting that Wayne mentions money, because I also point out to him that Deity’s Muse have existed for the past decade without any form of assistance from labels, whereas most bands would’ve said eff this and quit long time ago. So, what’s been the success to their longevity? “The main thing is making music that you want to hear. We’re not trying to be commercial or follow what other bands are doing. We’re doing it for ourselves,” Wayne affirms. “We’ve also kept it as a three piece, which is always easier to control.”

Kill The Clones Having seen the changes in the industry since the turn of the century, I ask what Deity’s Muse would like to see happen in the local music scene in the future.

Suddenly, bassist Alvin Boucher springs to life for the first time (and only time) in this interview, puts his burger down, and declares, “I’d like to see bands writing music that they want to hear and not following what’s popular overseas. We’re always 2-3 years behind, it seems; and bands are copying each other and too many bands sound exactly the same. I’d like to see guys come up with their own style of rock and metal.”

Wayne adds, “I’d also like to see more professional venues. Like they do overseas, maybe they should be auditioning bands before they get onto a festival. That’s another thing: all these day festivals, they’re just getting too much. Everyone is having a festival nowadays. You have 5 bands on the bill and you call it a festival – it’s ridiculous.” when it comes to business between two people, it has to help both sides. We’re advertising for them, and they’ll be doing the videos for us.”

Sharing burgers and dirty Shania Twain jokes, you cannot help but sense an air of realness to this band. They know they’ll never be selling a million albums, yet they’re just wanting to rock without a reason. I think, deep down, we can all appreciate this remarkable and sincere celebration of complete freedom.

From Slavery To YouTube Celebrating their anniversary, Deity’s Muse haven’t exchanged diamond rings and loving vows, instead they’ve released their third studio album, New Trends in Slavery, and decided to ambitiously release 10 live music videos over 10 weeks via their YouTube channel. A project of this magnitude must cost a few pennies, so which bank did they rob? Wayne explains how they made this video project happen.

“Through friends of ours, who used to be in a band, but broke up, and started their own multimedia company. All we’ve done is approach them and “you scratch our back, we scratch yours”. Obviously, they’re charging us for it, but we’re getting it a lot cheaper than anyone else. Basically,

For more information on Deity’s Muse as well as some free MP3’s for your iPod, go to www.deitysmuse.com. Scan this tag on your phone to check out their videos celebrating 10 years of rocking out!!!

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muse | twenty four

INTERVIEW

By Eliza Day

The Wild Eyes

D

“Fun (E) Spelt Backwards Is (E) nuf.”-Nikhil Singh

oodling whilst waiting for the three members of The Wild Eyes to arrive to meet me for our interview at Royal on Long Street was probably the best way to anticipate what happened next. When I looked up from my sketch book, three illustrations

by John Galliano back from a bender for the Brothers’ Grimm had sat down at my table. Waiting on beers and braying about four tracks, I prepared to ask my first question about where this cultish trio had been and why they were back in Cape Town with their long awaited EP, Swastique.

The last time we saw them around these parts they were doing something of an indie, pop punk thing with Len Cockcroft on drums, Gareth Dawson on bass and noise and Nikhil Singh doing vocals and playing guitar. They come from the early 2000’s clique that consisted of Inge Beckmann and Markus Wormstorm to name a couple and somewhere during their proclaimed self destruction after their album, Our Love Has a Special Violence, they split up.

Gareth went back to the UK, where he tells me he spent part of his earlier life squatting in a burnt down warehouse with his dog Chester trying to get TV reception. Len went to the desert and found snseJ while Nikhil went North (to London) and sent his latest creation, Taty to the West.

They came back because, well they just came back... like a brain tumour intent on changing the dull thought pattern of South African music. The weird magic of The Wild Eyes has been enthralling all the beautiful creatures of

the night since they began but it’s clear that they only really work when all three of them are there.

Gareth: “it’s this thing that we’ve got where when one of us is out of the picture, it’s not The Wild Eyes. Each of us can work on our own but even if it’s just the two of us working together it’s a completely different thing.”

“Like the Unholy Trinity?” I ask. They all stare at me with wide eyes. “We like that!” yells Len. So what about Swastique? There’s already been some controversy amongst fans of the old stuff that The Wild Eyes have totally changed their tune not to mention swapping all their instruments for a strange setup of SPD 20’s, a Slim Phatty, a Microkorg and other toys. Now the title of their new release connotes anti-Semitic evil? They deny both accusations saying they’re still doing what they were before, making music they feel like making. There’s no real change in that way and as Len says, they didn’t go electro because it’s hot right now. “We just get really fucking bored at the drop of a hat,” says Nikhil and Gareth agrees saying, “we’d forgotten the old songs and didn’t feel like playing them anyway.” What about direction? “There’s no direction,” laughs Nikhil, “We make it up as we go along, including lyrics.”

My mind goes back to when I saw a recent gig of them playing a song called Chainsaw in My Lover’s Hands. The enigmatic macabre atmosphere of this front man somehow makes me think it would be perfectly logical that his chosen lady friend would be into the darker side of S & M. Yet Nikhil insists the song is to do with his obsession with 50’s and 60’s pop songs and how they were always about getting together and breaking up.

“I guess I agree,” I think, “it’s just a rehash of something done before but this time with severed limbs.”

“Gareth coined the word,” Nikhil explains about the title of their EP, “It’s a taboo against the symbol and it’s occurring quite a lot in popular culture.

The swastika has been around a lot longer than the Germans have. There’s no reason why it should carry this taboo.

What it really is, is a form of rebellion. It’s like saying the swastika is pretty hot right now, we like it and it’s a rejection of taboo... it’s really old. It comes from ancient cultures that don’t exist anymore.”

Len: “It’s kind of weird for me because what I got out of it isn’t what you guys are explaining at all.”

Gareth: “He (Len) built a Nazi submarine.”

“Yes I did,” says Len proudly. “What it (Swastique) was for me was when we first got talking about it, it was about pop culture, about underage kids watching horror movies and the wealth of MTV and black people eating at McDonalds. The disgust.”

Gareth: “It’s about taking it back into pop culture rather than it being something that carries weight.”

Len: “It’s the glamour in 2011 that is so disgusting that it’s beautiful.”

Me: “Like post pop art?”

“Popped art,” says Gareth, to which Nikhil and I both shout, “POP TART!” Gareth nods and sneers, “Children playing with My Little Swastika.”

Nikhil: “we’re not Nazis. Because I would be dead by now.”

Gareth: “Yet we are totally amongst ourselves fascists.”

All of them: “Fascists!”

muse | twenty five

INTERVIEW If waiting around for something exciting to happen to Cape Town is 'Fun(e)', I'm with The Wild Eyes. Welcome home boys.

It’s obviously just a bit of tongue in cheek jest from these gauntly glamorous artists which to be honest, is so great when Cape Town seems to have lost its sense of humour down the arse end of Evol’s [local venue] couch. The good news is that there are more creative folks out there who are producing amazing things. Take Jenna Bass (also the creator of Jungle Jim magazine) who did their most recent video for Vampire Radio. It’s a straight up pop video shot in the negative; a brilliant and simple visual answer to their musical concept.

Their opinion on music in South Africa right now? Len reminisces about the old days of the underground music scene before social media blew up and everyone got a little too professional.

Gareth comments on how it’s become a commercial push to improve your lifestyle as a musician by selling out to

radio friendly fraudsters, “Whether people like us or not, we don’t really care, we just wanna be what we wanna be,” he smiles. Nikhil feels it’s stopped being about the music here, “We’re just pushing boundaries to better ourselves as musicians. Sure, we’re a parody but because that’s just what we like.”

The night went on and the stories and opinions that came out of the three led me along moonscapes covered in golden spiders, smacked up ballerinas and a sweet ‘Fuck you’ attitude to the world of commodity and those too boring to consider something different.

The EP will be available to download soon and I can’t wait as I feel these are the glittering beginnings of a bloody fairytale where a war wages toward innovation and the real artists will live happily ever after.

Watch the Wild Eyes’ brand new v i d e o Va m p i r e R a d i o o n y o u r Smartphone by scanning this tag or go to www.museonline.co.za to watch on computer.

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muse | twenty six

MUSIC NEWS

Y

ou reading this magazine proves something to the people who made it.

Apart from the Dave, like bands, we all have day jobs. This column reaches for the limits of inside scoops and news, but we can’t tell you everything. If we could, we would. Backstage stories and the real sex, drugs and rock and roll is saved for early mornings in bars between the people who are in neck deep. Unfortunately...

Part of our duty is to report what goes wrong to ensure it doesn’t happen again. For example, when a venue spends fifty grand to put together a show and something goes wrong, the damage causes a loss of the

Inside

thing we really need – money. We can’t challenge an industry that’s still learning how to run.

Patti Smith’s words, ‘we created it now let’s destroy it’, need not apply. We have bands, venues and a media.

But we need lawyers, associations, guilds – cogs that make any industry possible. And we need to tell kids, the future fans and bands.

If you like what I’m saying and anything in this issue, give it to someone who might be interested, but wouldn’t necessarily pick it up. If you have anything, tell me: johannmartinsmith@gmail.com

SAMA nominee Laurie Levine has returned from The National Arts Festival in Grahamstown with a Standard Bank Silver Ovation Award and just released an album, Six Winters. According to the producer Dan Roberts, the biggest difference between this album and the last, is the lyrics. You can read our album review on Pg. 34

Laurie Levine

Headline Artists is on a quest to help bands elevate the quality of their product, with a new 3 month programme called The Headline Artist Boot Camp – and no, it’s not taking place in a forest. Originally for musicians, it also seeks to recruit managers, publicists and agents. Prominent industry insiders Brain Currin and Sean Wienand will be covering topics such as: industry entities, business models for bands, recording contracts, potential revenue streams marketing initiatives and technological developments. For more info: headlineartists@gmail.com Pretoria based Benjamin Studios are hosting “A Series of Free Audio and Multimedia Workshops” with the purpose of creating a tighter community among artists. Founder Jacob Israel has invited several professionals from all over to offer talks on various topics. Most of the talks are recorded and available online from their Facebook page, where you can find more info, studio photos and rumours of sister projects starting in other cities.

Mabu Vinyl Cape Town have opened another shop in a basement in Oranjezicht called The Blue Trommel Basement, where they claim to keep all their “more valuable and collectable records”. The two-roomed basement shop has wide selection of rare LP’s, 10” albums, 7” singles, 12” maxis, rare CD’s, international and SA pressings sold which they sell on eBay to private collectors from all over the world. Viewing can be done by appoint only. You can contact Jacques or Stephen on + 27 (0) 21 423-7635 or by email: sugar@mabuvinyl.co.za.

Iron Maiden’s frontman Bruce Dickinson has been awarded an honorary degree for his contribution to music. He was given the title at London’s Queen Mary University, where he originally studied history in 1979. Bruce is currently taking his band on tour piloting a Boeing 757 – dubbed Ed Force One after their signature poster demon, Eddie. Check online for more dates, Bruce Dickinson and while you’re at it, email Bruce an invitation to come to South Africa.

The Ryan Calder Band are making us an offer we’d be crazy to refuse, by selling copies of their debut disc On the Edge online, and letting you decide how much you want to pay. The four piece Afro Pop outfit from Durban, who have already played East Coast Radio with their happy go lucky fusion of Maskande and Jazz-Rock, recently won an online contest at weloveyoursongs.com for unsigned bands. The first prize ticket to the Future Music Forum, hosted in Barcelona in September doesn’t come with petrol money… but the band have come up with a novel way of raising the funds. You could very well play a direct part in the success of a band overseas, as well as making a worthy addition to your CD collection.

the machine

muse | twenty seven

MUSIC NEWS

with Johann Smith

Upcoming releases: Grammy winner Swedish pop rocker Moneybrother is trotting the globe recording a new album in every Red Bull Studio that exists. He recently visited Cape Town’s Red Bull Studio and did a music video here. He’s currently busy with the long journey back home.

In a recent interview he recalled meeting legendary funketeer Prince during his trip: “he’s the fucking coolest guy ever, dancing like crazy, playing guitar, you know, and the songs and the vocals. I don’t know how you can top that really”. www.redbull.co.uk

Moneybrother

Megadeth have announced a new album Th1rt3en set for release in November.

According to online reports, the new songs see them moving in a new direction. www.megadeth.com After a four year hiatus Blink 182 have released a reunion single online, Up All Night. The song will most likely be added to their set for an upcoming Honda-civic sponsored tour with My Chemical Romance on 5 August. No official launch dates have been confirmed for a new album, but they are recording it. www.blink182.com

Van Coke Kartel plan to record a fourth album in September with Theo Crous at Bellville Studios. It will be the first time the band is Blink 182 in studio as a proper four-piece. The album follows an unsuccessful second album and a third that surprised fans with an uncalled for cover of the 80’s pop song Maniac.

What to expect? god alleen weet. But to put a foot in the mouth of critics, the band have launched their Wie’s Bang? campaign leading up to the launch. Various artists are busy designing posters. Francois, if you’re reading this, you know where I stand with you and what I have said in the past. Just give us balls to the wall, something you claimed in an interview when you formed Kartel. www.vancokekartel.co.za

Van Coke Kartel

Ex-Blur and Gorillaz frontman Damon Albarn has confirmed plans for a new album in the Democratic Republic of Congo in collaboration with Oxfam – who will possibly receive proceeds from the project. Albarn aims to finish the project within a week’s time. Going with him is a team of producers, artists and indie rockers Franz Ferdinand. We’re all waiting to hear about plans for the reunion of Blur. Members Graham Coxon and Dave Rowntree stated in an earlier interview on the possibility of a new album.

Mastodon will be releasing an LP later this year, titled Hunter. In a Rolling Stone interview their singer claimed it will promote public stripping and drunken behaviour.

Looking for new bands?

As much as Norwegian’s are notorious for Black Metal, their Swedish neighbours are known for their uplifting music. Acts like ABBA, The Cardigans and The Hives to mention a few. One of the best bands the Scandinavians gave us is Millencolin – a four-piece pop punk outfit who started their careers in skateboarding. Their most well known album, Pennybridge Pioneers, is a celebration of skating and it’s the closest you’ll ever come to feeling the stoke of kick-flipping down a twenty stair set. Listen to: No Cigar, A-Ten

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muse | thirty

JAZZ LEGEND

by Mary Honeychild

M

eeting up with Moreira Chonguica at a trendy coffee shop in the heart of Art Central in Kloofnek, Cape Town he greets me with a ready and sincere smile; “Hello”, he says, a hint of Portuguese in his accent. He is Mozambican born and a celebrated Saxophonist – a SAMA Award winner for ‘Best Contemporary Jazz Artist 2009’ and nominated for ‘Best Producer in 2007’.

As we get into the flow of the interview which instantly takes the relaxed form of an easy conversation, I get to know a highly intelligent and philosophical man. His confident demeanour and stylized approach in answering my questions reveals an insight into his most invaluable years of life and industry experience. The same year he was awarded his first SAMA in 2009, he received two of the highest honours in his home country. Radio Mocambique [the nation’s largest radio station] voted him ‘Cultural Personality of the Year’ and readers of ‘Jornal Noticias’ [leading Mozambican magazine] also voted Moreira as “The Best of 2009”alongside President Guebuza and the Mozambican Football team – The Mambas.

Moreira conceptualizes, develops and maintains community initiatives in both Mozambique and Cape Town, with the sole purpose of bringing music to schools and children. These children would otherwise not have been exposed to the culture and beauty of making or being a part of live music production and appreciation, specifically Jazz and the saxophone.

With his music he aims to create a niche for the ‘fresh ear’. I ask him which elements in production he incorporates to get exactly this. “To be honest I would be lying if said I had a set formula. The best part is that I don’t know any of it going in from the start of doing a song. If it’s a set recipe it won’t be fresh anymore. I’m just a musician and I see it this way, I make music and play the sax. You choose to call it Jazz, I say okay,” he smiles.

“Fair enough. But if I had to get in there and make a quality Jazz song- what could I not go without?” I find myself thinking aloud... “Honesty and the intention that has to come straight from the soul because good music is honest.

Spontaneity, a sense of adventure mixed with just a little bit of crazy. The rest is God willing,” he answers, smiling again.

With the advent of his illustrious

“I'm just a musician and I see it this way, I make music and play the sax.

You choose to call it Jazz I say okay.” career since he graduated from UCT, Chonguica has played at countless international Jazz festivals all over the world. Considering of course that he is a Southern Africa based musician, I ask him what about playing in Europe stood out the most for him? “I’d have to say the level of professionalism and discipline artists have for their work. The music distribution infrastructure is so much more fluid, it’s easier to get hold of all the music you enjoy listening to. What also became clear to me is that in Africa we tend to think our scene is smaller than Europe’s. I have learned it’s exactly the same, we just have less opportunity and exposure on media platforms than they do. But we're getting there.”

Now in the thick of his booming

career that shifts from one glorious high note to the next forming the beautiful melodies he has come to know as his life after all the dust settles… I am curious as to how he would like to be remembered. “I would like to be remembered for my music , for who I am and the things I symbolise such as knowing where you come from and taking that wherever you go and naturally my contributions to society too.”

Moreira is currently working on the production of a third special album. It pays homage and honours unsung Mozambican artists who never had the opportunity to have their music heard.

For more info on this intriguing artist check out Chonguica’s website @ www.moreiramusic.com/

muse | thirty four

DM – Dave Mac | MD – Mickdotcom | CW – Craig Wilson | JM - James Rose-Mathew | SP - Sergio Pereira | PB – Paul Blom 1 = Weak | 2 = Okay | 3 = Pretty Cool | 4 = Rocking | 5 = Demi-God!

ALBUM REVIEWS

2. LAURIE LEVINE - SIX WINTERS

1. ARCTIC MONKEYS - SUCK IT AND SEE Vocalist Alex Turner is most definitely the centrepiece of this group and remained the locus of the lion’s share of my attention throughout a couple rotations of this, their fourth record. His contribution to the fray, both lyrically and in terms of his delivery, is attention-grabbing in ways that the music simply couldn't match. Turner's keen eye for the ironic and deft hand at spinning unique turns of phrase often had me zoning out of the ruckus of the instrumentation and listening singularly to his lyrics. That's not to say that the music itself is unaccomplished.

There are supple grooves spanning the recording, the drum work and bass lines find their feet comfortably and are on occasions exceptional.

The guitars jangle a bit much for my sensibilities, the Britpop edge being a little overwrought. However, sometimes a melodic line breaks free and soars over and above everything else, shimmering proudly.

Overall, not sure I'll be coming back to this album all too often except perhaps to remind myself of particularly memorable phrases crooned out by Mr Alex Turner.

3/5|JM

3. ZIM NGQAWANA: ANTHOLOGY OF ZIMOLOGY VOL.1 Zim's passing was a massive blow. He was arguably the most important contemporary figure in South African Jazz. The loss of a great artist like Mr. Ngqawana is twofold - first one laments simply the absence, the fact that a magnificent presence is no longer among us; secondly one mourns the fact that no new work will be produced in his signature. Anthology of Zimology Vol.1 offers brief but bright relief from the latter loss. The first of a series envisaged by Ngqawana, the music spanning 'Anthology's two disks is arranged to emulate the arc of a concert performance - from hushed opening to rapturous finale'. What makes the release priceless is that it reveals how key compositions like Qula, Biological Warfare and Migrant Workers - familiar from the lush, polished biomes of his studio albums have evolved into new creatures through years of live performance.

Zim is in full flight here, crackling with energy and invention. A musthave for anyone who likes their Jazz potent and bristling.

5/5|MD

5. BON IVER - BON IVER Opener Perth wells up out of the ground like a sonic volcano; it marches along effortlessly and swamps anything in its path. It saturated my attention, even at low volumes (damn late night listening sessions with paper thin apartment walls!!), and was quite overwhelming.

There is magical music here - oft chillinducing and certainly not the kinda stuff one can easily digest in just a few listens. I did have a rough time with the incredibly layered vocals that span the recording. My housemate described it as saccharine and he nailed it. The album is 40 minutes long and it begins to feel like your sensibilities get caramelized after perhaps the fourth track. Dunno about you but I cannot take that much sweetness in one sitting. In time I could only listen to a track or two at a time and in this fashion, one can yield to Bon Iver's divine meandering dream-like movements without feeling gorged. As a body of work though, I simply couldn't see it as a cohesive entity due to the treacle-effect.

2/5|JM

I knew nothing of this lady prior to playing the record. I was struck by its maturity and soulful tone, its unfolding melodies and the exquisite innocence in the timbre of Levine's voice. Inspired seemingly entirely by the grand country & western voicing made famous by the output from Nashville, Tennessee - the songs pluck at the heartstrings without falling foul of the dreaded schmaltz.

There are moments that had me transported into vivid landscapes - the violin lines and banjo picking along with magic Telecaster tones all placing me in expansive mental wildernesses, feeling slap bang in cinematic denouements, probably atop a stallion and packing a six shooter.

Finding out that this is straight outta South Africa was something of an incongruous revelation and for a couple listens it felt somewhat disingenuous until I slapped my senses and just reveled in the textures, without a locale in mind. In that headspace, Six Winters is a startling accomplishment - impeccable production, sweeping song-writing and an often sublime capability to transport the listener. This coming from a veteran of the metal scene communicates buckets. Take a listen, people!

4/5|JM

4. FINK – PERFECT DARKNESS I remember receiving Fink’s second album for review a few years back – it arrived along with his debut and was billed as something special, his first album already having attracted the necessary critical acclaim and creating the buzz of anticipation for his second.

Released oddly on a label more aligned with electronic music, albeit very left of centre, Ninja Tunes, I’d love to be able to compare his earlier work to Perfect Darkness but unfortunately those 2 CD’s were lent out and never returned (thanks Sean). I do remember enjoying his voice thoroughly and appreciating the potential of his stark acoustic driven ballads. But I also remember getting just a little bored half way through each album. Perfect Darkness remedies everything that was lacking on those previous releases, both in musicality and songwriting. Here is a collection of 10 exquisitely crafted compositions (he’s known for his detail) that are fuller and way more accomplished from a singer/songwriter who has grown and matured considerably from a few years back.

Perfect Darkness, complete with beautiful backing arrangements to compliment Fink’s guitar and voice, starts and ends perfectly with wonderful storytelling, intelligent lyrics and personal innuendos. Everything a good acoustic album should have. Fans of Yoav, Farryl Purkiss, and Laurine Levine, etc should definitely track this accomplished piece of work down.

5/5|DM

Check out the full reviews of these titles online @ www.museonline.co.za Journey – Eclipse Old boys of rock are back with a new album of 70’s rock. Or have they progressed to the 21st century? They have plenty fans so let’s see what they deliver...

Whitesnake - For Ever More More old boys of rock but not nearly as old as Journey, these rockers from the early 90’s are still going strong.

Chris Chameleon - As Jy Weer Skryf Chris’ 2nd interpretation of Ingrid Jonker poems...

Tom Petty and the Heartbreakers – Dam the Torpedoes <DVD> An intriguing doccie on the making of this ground-breaking album Piet Botha – Spookpsalms Botha’s first collection of new songs in 8 years using a host of traditional instruments.

Rodrigo y Gabriela - Live in France Flamenco guitar maestros doing what they do best... but Live this time.

6. IRON MAIDEN - FROM FEAR TO ETERNITY: THE BEST OF 1990-2010 The world's Metal band with the most longevity has been at it for over 3 decades! And in this period, with some line-up juggling, their core personnel has remained intact and their focus has been a very dedicated one, maintaining their unique flavour, sound and ever escalating world domination on the live stage, their mascot Eddie always present. This double disc follows collections like Edward The Great and Somewhere Back In Time, the latter covering the first chapter of their career from 1980-1989. Here you get a double disc with 23 highlights from the last two decades across 8 albums - quite a tome to pick from. There are studio - and some live recordings from the albums No Prayer for the Dying, Fear of the Dark, The X Factor, Virtual XI, Brave New World, Dance of Death, A Matter of Life and Death, and The Final Frontier. Naturally they couldn't exclude tracks from their low-point when vocalist Bruce Dickinson left for a stretch, replaced

by Blaze Bayley, (but craftily) it is a live version with Bruce singing.

Not that Blaze sucked, the Bruce boots are merely impossible to fill. It seems as though these guys will keep going at it eternally, and we hope they do. While my favourite period stretches across Number of the Beast to Somewhere in Time, losing them across the '90s, there's no denying the power and influence of Iron Maiden and the impact they've made, and are yet to make.

5/5|PB

8. SHADOWCLUB - GUNS & MONEY

<EDITORS CHOICE>

So here I am reading Eliza Day’s column on Pg 6 – the word document she sent me is called ‘Bored,’ as the subject matter, if you have not yet read it, is about how boring the local live band scene has become and how there are no new and exciting bands out there, everybody seemingly settling to want to sound like someone else. I’ll need to give her a heads up then on Shadowclub. Big White Stripes fans, the trio decided to record their album in 12 days but did it in 9 which is fine if you’re Jack White and Co. with that M.O already, but for a local band not that well known we could all just laugh it off and say “yeah well it sounds like it!” But it doesn’t. Guns and Money is a very, very good debut album and whilst White Stripes fans will appreciate their bluesy ‘purposely fuss free’ rock ‘n roll as they call it, the 3-piece are no copycats exuding an authenticity that combines distorted guitars and often equally distorted vocals to deliver a fine collection of 12 very well penned songs. Musically adept and with a vocalist [Jacques Moolman] who can really use his pipes, Shadowclub have produced an accomplished debut release that for my money is easily the freshest thing I’ve heard from an SA band for now.

4/5|DM

PJ Harvey - Let England Shake Reminiscent of her earlier work, Harvey returns with more tortured soul stuff...

Fucked Up - David Comes to Life A punk rock opera? Apparently! And has received its fair share of critical acclaim.

Danger Mouse & Danielle Luppi – Rome Everything Danger Mouse touches is gold, including Rome with Danielle Luppi.

The Bad Plus – Never Stop The Bad Plus, a staggeringly gifted Jazz trio from Chicago and boy do they kick!

A to Z of Classic Rock A few real hidden gems and some of the real old classics.

Lanu - 12 Faces Lanu, producer and guitarist of The Bamboos, Kylie Auldist, Cookin' On 3 Burners, Randa & The Soul Kingdom...

Farryl Purkiss - Fruitbats & Crows Remixed and repackaged with more to offer for those who missed the original release.

Bombino – Agadez A young Tuareg guitarist and songwriter, who was raised during an era of armed struggles for independence and violent suppression by government forces.

muse | thirty five

ALBUM REVIEWS

7. BEN HARPER - GIVE TILL ITS GONE

I was quite seriously taken by Ben Harper's sound around the time of Fight for your Mind and The Will to Live. His musical direction subsequently lost my attention and I've paid little mind of his output since. This disc however finds him frequenting that same headspace that had me swept up back in the day.

Harper sounds energised and full of inspiration for whatever reason and it translates deftly into stunning tracks like I Will Not Be Broken and Don't Give Up On Me Now. Elsewhere on the album sees Harper turning up the distortion and invoking Rock n Roll behemoth that strides, bucks and brawls with a fine swagger. Funnily, the biggest disappointment is a tune called Rock n Roll is Free, it just sounding like a self-conscious attempt to evoke a 60s-like camaraderie in the audience when it inevitably gets punted live. One thing's for certain, Ben Harper knows how the hell to write a great song, knows how to wrangle an effortless array of sounds from his instruments and surrounds himself with peeps that play the hell out of their respective instrument - see the rollicking jam that is Get There From Here as proof.

4/5|JM

9. GORILLAZ - THE FALL It's readily apparent that Damon Albarn is in many respects a musical genius. His work with Blur and previous Gorillaz outings is testament to this. The Fall, however, comes across as an anomaly in the body of work. Recorded primarily using applica-tions on the iPad and finding its way into the world due to the boredom of touring, it feels somewhat flat for the most part. An exercise in keeping oneself entertained while stricken by the unfortunate rigours of life as a hugely successful musician. Trent Reznor of Nine Inch Nails did the same thing with Year Zero, yet that record bristles with inspiration and a feeling that the confinement involved nourished the artist while here one senses the barren nature of what the creator endured during its creation. There are highlights: The Snake in Dallas and Amarillo are both tremendously evocative and remain somehow imbued with the ambience of extensive travel. In short, The Fall feels like an experiment and one that needn't have left the confines of the mobile recording studio as it neither adds substance to the Gorillaz catalogue nor does it stand up to repeated listens.

2/5|JM

10. ASHTRAY ELECTRIC - MEASURED IN FALLS So the album cover of this recording is supposedly the DNA sequences of the members, a neat idea but one that unfortunately belies the contents of the recording. I found there to be little in the music as unique as something like a DNA sequence. I honestly dislike being derogatory about local music because I really do want native product to flourish. However, I couldn't help but feel something paintby-numbers about this music. Safe would be an unfortunately apt word to describe what I hear all over Measured in Falls. The biggest struggle in my attempts to find an access point into the record comes in with the vocal delivery. There is something awkwardly dispassionate going on here and a persistent faux-gravitas that I found brick-walled any burgeoning interest in the tunes. On occasions the vocalist seems to forget himself and strikes out with abandon and then it rocks. These moments are unfortunately fleeting. Thankfully though, my opinion matters a precious little as its evident Ashtray Electric have found a fervent audience in SA and are successful in their own right so if you’re a fan please ignore me and find out for yourself.

2/5|JM

muse | thirty six

GAME REVIEWS

by Paul Blom

For more gaming reviews, check out www.flamedrop.com

[5/5] RESIDENT EVIL: The Mercenaries 3D NINTENDO 3DS System / RESIDENT EVIL: The Mercenaries 3D [4/5] Old-school and new generation gamers can both feel that the new 3D wave is simply another marketing ploy to galvanize consumers into a spending fit. But, once you pick up the new Nintendo 3DS portable system, you'll wonder how you ever got by with its predecessor. The unique screen's 3D look is quite remarkable and highly effective, complete and without the aid of any glasses! Additional menu functions include the 3DS Sound option to record and play with audio, such Wii functions as the creation of Mii characters, on-line connectivity and syncing with other players. And, you can take incredible 3D pictures!

The touch screen stylus is now a more compact telescopic one. Face Raiders is an in-system game placing anyoneâ&#x20AC;&#x2122;s face in the 3D action, your surroundings the background. More software can be added down the line, as with iPod apps. Another built in blast is the phenomenal Augmented Reality Nintendo (used in co-operation with the supplied cards). The software recognizes the card and from it sprouts totally 3D objects anchored in your real surroundings and reality popping up or sinking into your real world. You can move 360 degrees around these objects as they make a part of your surroundings.The health warning is not there to annoy you, as children under 6 can get vision damage. After my first bash, I had a bit of a dizzy result (not taking the recommended breaks!) The 3D effect can be adjusted to 2D. With so much encapsulated in this system even before you get cracking on a game, the possibilities are far-reaching. Which brings us to RESIDENT EVIL - The Mercenaries 3D. Being one of my all-time favourite survival horror games, I was pretty damn excited to take the 3DS on its maiden cruise with this one. After some training levels to get to know your characters movements, interaction & weapon handling, you're off on a new eye-popping trip with this terrifying franchise. Series veterans like Chris Redfield and Jill Valentine are in the character roster (with more to unlock), and the expected range of firepower and villainous zombies & freaks are on hand to blow away, the creepy factor as high as always. Duo-play with another 3DS gamer has many advantages including resuscitating your partner and Internet play takes you global. (18 for violence).

Xbox : Marvel SUPER HERO SQUAD - The Infinity Gauntlet [3/5] Over the decades the beloved Marvel characters have leapt from the comic book pages into movies, figurines, games and more, becoming a part of our global cultural fibre. This fun 3D platform game (aimed at the younger player) gives you pint-sized cartoon versions of your favourite heroes, from Iron Man, Hulk, Wolverine and Spider-Man, to villains like Dr. Doom and Magneto. You're paired in tag-teams to fulfil a range of tasks in trying to obtain the various gems that will give bad guy Thanos' gauntlet super powers.

Additional content can be downloaded.

PSP: GOD OF WAR - Ghost Of Sparta [3/5] If you're still in that Clash of the Titans and 300 mood, this second PSP Ghost of War version will transport you to this vicious ancient world of living myths and legends. Kratos, now a God, is plagued by visions of his past mortality and sets out to find its source. It takes him to the Temple of Poseidon within Atlantis, with a well stocked supply of enemies and gigantic beasts & sea creatures to battle along the way. With an epic cinematic scope and feel with the animated bridging scenes, you get to choose difficulty of Mortal, Hero, Spartan, or God. Machismo won't help you by going straight for the God setting, as it will take some quick fingers and patience to hack and slash your way through this.

PS3: GRAN TURISMO 5 [5/5] I remember how impressed I was when the first Gran Turismo game arrived in the late-'90s, living in my PS One for quite a stretch. Placing it beside the current 5th chapter on the 3rd PlayStation generation, the improvements are vast. Together with HD screen development over that period, we hardly envisioned these advances when we were grinding away the tracks, drifting before we knew it would become a legitimate style. Over a decade later and the improvements have multiplied beyond exponentially with each new instalment of this ultimate racing game exclusive to PS. The range & amount of cars to access, the jacked-up realism, souped-up performance, and on-line connectivity for a global race of real drivers as opposed to you against the CPU, sends it way out there. Production vehicles, racing models, F1 and go-karts, itâ&#x20AC;&#x2122;s all here with over 1000 cars from all manufacturers, across world renowned courses, city streets, drifting locations and respected rally tracks. Prepare yourself!

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muse | thirty eight

GIG GUIDE NATIONAL EVENTS.....

Every Wednesday | Open Mic Wednesdays | PTA @ Mokha Rock Lounge | We provide the stage, sound and lighting and you’re the entertainment! | 19h00 | 082 884 9818 or mokharock@gmail.com Every Second Wednesday | Tanz Cafe Jam Showcase | JHB @ Tanz Cafe | The Tanz Cafe Jam Showcase is about giving up and coming bands some killer exposure and the opportunity to increase their fanbase and make some money in the process. The project is designed so that bands get out what they put in as each band makes money per head on their guest list that walks through the door | 19h00 | R30 if on guestlist or R40 | 082 855 5445, grant@tanzcafe.co.za or www.tanzcafe.co.za Every Thursday | Open Mic Nights | CPT @ Plaasteater | Come and support SA's finest upcoming musicians play their newest material | 20h00 | Free Entrance | 073 869 0291 or www.plaasteater.co.za Every Thursday | Open Mic Night | PTA @ Factory Bar & Nightclub | Each week will host a fresh new range of alternative and interesting bands | 19h00 | R10 | 082 300 1303 or www.factorynightclub.co.za Every Thursday | Sunset Fireflies Jam Session | CPT @ Trinity Super Club | 15 Bennett Street, Green Point | Every Thursday Trinity hosts a Cape Town Songwriters open mic jam session | 20h00 | Free | 021 421 1367 or www.trinitycapetown.co.za Every Friday | Justin Bergh | CPT @ Caveau at The Mill | Justin Bergh | SAMA nominated singer Justin Bergh who toured with Bryan Adams in 2010, released his third album recently and has a string of radio hits under his belt | 19h00 | 021 685 5140, www.caveau.co.za Wed 3 Aug | Die Heuwels Fantasties | N.Cape @ Diamantveld High School | Die Heuwels Fantasties | Doors open @ 17h00, Show starts @ 20h00 | R120 | www.computicket.com 5-7 Aug | Oppikoppi - Unknown Brother | JHB @ Oppikoppi Festival Zebra & Giraffe, Die Tuin Dwergies, Van Coke Kartel, Mr Cat & the Jackal, Karen Zoid, Jax Panik, Die Heuwels Fantasties, Die Antwoord, aKING and many more | 5 Stages, Stalls, Camping grounds & Beer tents | R550 through www.standardbank.co.za/studentachiever or R600 @ the gate | www.oppikoppi.co.za Fri 5 Aug | Sum 41 Live in SA! | DBN @ The Wavehouse - Durban | Doors open @ 16h00 | R250 | www.ticketbreak.co.za Sat 6 Aug | Bilal (USA) - Live in SA | CPT @ The Assembly | Grammy nominated singer/songwriter Bilal, live in South Africa | Doors open @ 20h00 | R200-R250 | (021) 465 7286, www.theassembly.co.za Sat 6 Aug | The Parlotones Live! | CPT @ Grand Arena - Grand West | The Parlotones | Doors open 18h45 & Show starts @ 19h45 | R175-R250 | www.computicket.com

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Sat 6 Aug | Through This Defiance S.A Tour – 2nd Leg | DBN @ Burn Nightclub | Through This Defiance, Reason to Live, Towers, We Were Archers & Conclave | R100 | Brad @ 082 092 6228 Mon 8 Aug | The Used Live! | CPT @ Grand Arena-Grand West Casino | The Used, Fokofpolisiekar, Lark and PH Fat | 19h00 | R220-R250 | www.computicket.com Mon 8 Aug | Through This Defiance Live! | E.Cape @ Jester's Nightclub | Through This Defiance (USA) & Reason to Live (JHB) | R100 | 0769857911 or jesterspe@hotmail.com Wed 10 Aug | Through This Defiance S.A Tour – 4th Leg | CPT @ R.O.A.R/Gandalf’s | Through This Defiance, Reason to Live, Get Back! & Yes, It's Me! | R100 | 21h00 | Brad @ 082 092 6228 Fri 12 Aug | Through This Defiance Live! | F.State @ Craig's Pub | Through This Defiance (USA) & Reason to Live (JHB) | R100 Sat 13 Aug | Aking | JHB @ Barnyard Theatre-Vereniging | Aking | 20h00 | R120 | (016) 454 8388 or www.barnyardvereeniging.co.za Sat 13 Aug | Chromium, Conclave & Other National Bands | DBN @ Burn Night Club | Chromium, Conclave & Other National Bands | burn@wbs.co.za or 082 071 9238 Sat 13 Aug | Haal Asem Kwagga Tour 2011 | CPT @ Aandklas | Van Coke Kartel and Zebra&Giraffe | Cost: R50 | Doors open at 18h00 | Marcus Oosthuizen: (021) 883 3545, marcus@aandklas.com Sat 13 Aug | The Dirty Skirts Album Launch | DBN @ Unit 11 | The Dirty Skirts | Features: The Dirty Skirts launch their new album 'Lost in the Fall' | 21h00 | R50 | 082 774 6528, unit11info@gmail.com or www.unit11.co.za Sat 13 Aug | Through This Defiance S.A Tour | JHB | Through This Defiance, Facing the Gallows, The Dead Will Tell & a Fate like yours | R100 | Brad @ 082 092 6228 Sat 13 Aug | Yoav & Ard Matthews | CPT @ The Assembly | Yoav & Ard Matthews | 20h00 | (021) 465 7286, info@theassembly.co.za or www.theassembly.co.za

Mon 15 Aug | Alles-in-allesfees | N.West @ Lichtenburg Highschool | Die Heuwels Fantasties | (018) 632 6202/3 www.lichies.co.za Tues 16 Aug | Haal Asem Kwagga Tour 2011 | E.Cape @ Kalahari Theatre | Van Coke Kartel and Zebra&Giraffe | Cost: R70 | Doors open 18h00 / Show starts 20h00 | Dietlof Henn: (044) 874 5000, 071 137 1893 Wed 17 Aug | Haal Asem Kwagga Tour 2011 | E.Cape @ The Union | Steve Biko Building, Prince Alfred Street, Grahamstown | Van Coke Kartel and Zebra&Giraffe | Cost: R50 | Doors Open 19h30 | Shane: 079 476 8898, shaneyellow@gmail.com Thurs 18 Aug | Chromium And Pins & Knuckles | PTA @ Zeplins Rockshack | Chromium and Pins & Knuckles | Features: Stalls & Prize Giveaways www.facebook.com/event.php?eid=126878710 726339 Thurs 18 Aug | Haal Asem Kwagga Tour 2011 | E.Cape @ Detroit Motor Spirit | Van Coke Kartel and Zebra&Giraffe | Cost: R50 | Doors open 19h00 | Shaakir Ebrahim: info@detroitsa.co.za, 084 827 7849 or (041) 582 3777 Fri 19 Aug | Haal Asem Kwagga Tour 2011 | JHB @ Cool Runnings-Fourways | Van Coke Kartel & Zebra&Giraffe | Cost: R50 | Doors Open 19h00 | (011) 704 0987, luke@stagemanagement.co.za Sat 20 Aug | Die Heuwels Fantasties | JHB @ Barnyard Theatre-Vereniging | Die Heuwels Fantasties | (016) 454 8388 or www.barnyardvereeniging.co.za Sat 20 Aug | Pins & Knuckles Fest! | JHB @ Coolrunnings-Fourways | Relentless Mercy, 7stukkesilwer, Only Forever, The Frail, Facing The Gallows, Chromium, The Dead Will Tell | (011) 704 0987, www.coolrunnings.co.za Sun 21 Aug | Hot Water | CPT @ The Silver Tree Restaurant | Hot Water | 18h30 | R100 - includes a welcome drink | 021 762 9585 | www.kirstenboschrestaurant.com Sun 21 Aug | Karen Zoid | JHB @ Walter Sisulu Botanical Garden | Karen Zoid | 15h00 | R80-R100 | www.ticketbreak.co.za

Wed 24 Aug | Haal Asem Kwagga Tour 2011 | Potch @ Die Bult | Van Coke Kartel and Zebra&Giraffe | Cost: R40 | Doors open 18h00 Sun 14 Aug | Chromium, & Other National | Fabio: 083 444 4101, Bands | KZN @ The Red Door | Chromium, & memphisrock@live.co.za Other National Bands | (033) 344 2643/082 975 4473 Sun 21 Aug | Sunday Acoustics | PTA @ Pretoria National Botanical Gardens | 2 Sun 14 Aug | Old Mutual Music in the Garden Cussonia Avenue, Brummeria | Skunks, - Karen Zoid | PTA @ Pretoria Botanic Garden Bloustort, Slaughtering Daisies, Sloppy Folks | Karen Zoid | 15h00 | R80-R100 | & Gevoel van Veiligheid | Adults-R22 & www.ticketbreak.co.za Students-R12 | (012) 843 5172/3/4, pretoriagarden@sanbi.org.za or www.sanbi.org Sun 14 Aug | Zebra & Giraffe | CPT @ The Silver Tree Restaurant | Zebra & Wed 24 Aug | Haal Asem Kwagga Tour 2011 | Giraffe | Doors open 18h30, Show starts Potch @ Die Bult | Van Coke Kartel and 19h00 | R100 - includes a welcome drink | Zebra&Giraffe | Cost: R40 | Doors open 18h00 021 762 9585, or |Fabio: 083 444 4101, www.kirstenboschrestaurant.com memphisrock@live.co.za

muse | thirty nine

Thurs 25 Aug | Ard Matthews & Friends Benefit Concert with MYLIFE Foundation | CPT @ Upper Eastside Hotel, Last year featured Jack Mantis, Vusi Mahlasela, Plush, Zolani from Freshly Ground, Louise Day, Theo Crous and the iScream & The Chocolate Stix! This year’s guest artists to be announced soon! | 18h30 | R150 | www.webtickets.co.za Thurs 25 Aug | Haal Asem Kwagga Tour 2011 | Free State @ Mystic Boer | Van Coke Kartel and Zebra&Giraffe | Cost: R50 | Doors open 19h00 | Theuns: (051)4302206 mysticboer.events@gmail.com Fri 26 Aug | Flip A Coin | PTA @ Centurion Theatre | 123 Amkor Road, Lyttelton Manor, Centurion | Flip A Coin | 20h00 | R110 | www.computicket.com Fri 26 Aug | Haal Asem Kwagga Tour 2011 | JHB @ Town Hall | 66 Carr Street, Newtown, Johannesburg | Van Coke Kartel & Zebra&Giraffe | Cost: R60 | Doors open 20h00 | Gert: 082 332 5772, gert@thetownhall.co.za Sat 27 Aug | Chromium, The Dead Will Tell & More | JHB @ Memphis Rock | Relentless Mercy, 7stukkesilwer, The Frail, Chromium, The Dead Will Tell | 083 444 4101 Sat 27 Aug | Die Heuwels Fantasties | E.Cape @ DF Malherbe Highschool-Port Elizabeth | Die Heuwels Fantasties | (0)41 581 3061 or www.dfmalherbe.co.za Sat 27 Aug | Glaskas | PTA @ Centurion High School | Selbourne Avenue, Lyttelton, Pretoria | Glaskas, Bok van Blerk & Zan 3 | Gates open 16h00 & Show starts @ 18h00 | R100 | www.computicket.com Sat 27 Aug | Haal Asem Kwagga Tour 2011 | PTA @ Arcade Empire | Van Coke Kartel & Zebra&Giraffe | Cost: R60 | Doors open 19h00 |Robert Peirera: 072 020 6120, robert@iloveptown.co.za

Sun 18 Sep | Ashtray Electric | CPT @ The Silver Tree Restaurant | Ashtray Electric | 18h30 | R100 - includes a welcome drink | 021 762 9585, info@kirstenboschrestaurant.com or www.kirstenboschrestaurant.com Fri 23 Sep | Die Heuwels Fantasties | JHB @ Cool Runnings-Fourways | Shop 30, Riverbend Junction, 1 Riverbend Road, Bloubosrand, Fourways | Die Heuwels Fantasties | (011) 704 0987, coolrunningscafe@telkomsa.net or www.coolrunnings.co.za Sun 25 Sep | Prime Circle | CPT @ Kleinevalleij Wedding + Conference Centre | Prime Circle, Gerald Clark & 3RD World Spectator | 14h30 | R160 | www.computicket.com Cafe' Barcelona: Elardus Park Shopping Centre, Cnr Delmas & Barnard Street, (012) 345 3602, info@cafebarcelona.co.za or www.@cafebarcelona.co.za Fri 5 Aug | Michelle Shocked Sat 6 Aug | Jacques Terblanche Wed 10 Aug | Die See + Gill Hockmam Thurs 11 Aug | Gerald Clarke + Henry Steele + Peter Hoven Fri 12 Aug | Deep Blue C + Joseph Clarke with Blues Train Sat 13 Aug | Classic Rock Show Thurs 18 Aug | Naasveld Fri 19 Aug | Arno Carstens Sat 20 Aug | Motel Inc + Totstilstand Wed 24 Aug | Marcia Moon Fri 26 Aug | Black Cat Bone Wed 31 Aug | Chris Chameleon Thurs 1 Sep | Marcato Fri 2 Sep | Dan Patlansky Fri 9 Sep | Koos Kombuis Sat 10 Sep | 80’ s Eve Wed 14 Sep | Elvis Blue Fri 16 Sep | Deep Blue C Sat 17 Sep | John Henry + Aanklank Fri 23 Sep | Jan Blohm Sat 24 Sep | 6.9.1 Wed 28 Sep | Gold + Gill Hockman

Sat 10 Sep | Fokofpolisiekar | JHB @ Cool Runnings-Fourways | Fokofpolisiekar, Knave, Voodoo Child & Soul Cadillac | 20h00 | R80 Pre-Sale & R100 @ the Door | (011) 704 0987, www.coolrunnings.co.za

Die Boer Theatre Restaurant: 6 Chenoweth Street, Durbanville, (021) 979 1911 or www.dieboer.com

Sat 10 Sep | Nimbus Experience | JHB @ Tanz Cafe | Nimbus Experience | 19h00 | R100 | (011) 658 0277, dalene@tanzcafe.co.za or www.tanzcafe.co.za

Fri 19 Aug | Koos Kombuis | R100 Sat 20-24 Aug | Jan Blohm Band | R110 Wed 31 Aug | Elvis Blue | R140 Wed 7 Sep | Glaskas | R60

Sun 11 Sep | Wrestlerish | CPT @ The Silver Tree Restaurant | Wrestlerish | 18h30 | R100 - includes a welcome drink | 021 762 9585, info@kirstenboschrestaurant.com or www.kirstenboschrestaurant.com

Factory Live Music @ Shop 7 High Park Centre, Logan/ John Vorster Street, Highveld Centurion Pretoria Happy Hour 8pm-9pm daily.

Fri 16 Sep | Heather Mac: Within | CPT @ Villa Pascal | 19h00 | Heather Mac | 19h00 | R80 | (021) 975 2566, 082 569 4147, info@villapascal.co.za or www.villapascal.co.za Sat 17 Sep | Deuriemikke Karnaval: Westlife Live | PTA @ Supersport Park | West Avenue, Centurion | Westlife, Watershed & many more! | Doors open 14h00 & Show starts @ 15h00 | R250 | www.ticketbreak.co.za

Wed 3 Aug | War of the Bands Thurs 4 Aug | Craving Sanity Fri 5 Aug | Club Vamp - Best of Goth Sat 6 Aug | Renounce, Loathed, Adorned in Ash, Fragmented Children , All of Eternity Tues 9 Aug | Womens Day Celebration Wed 10 Aug | War of the bands Thurs 11 Aug | Mind Assault, Bile of Man, The dead will tell Fri 12 Aug | Broken Truce, Dea Matrona , Caustic Bean , Craving Sanity Thurs 18 Aug | War Of the bands Fri 26 Aug | Chromium, 7Stukke Silwer, The dead will tell, Relentless Mercy

GIG GUIDE

Sat 24 Sep | Architecture of Aggression

Klein Libertas Teater: Bergzight Plein, Du Toit Str, Stellenbosch, (021) 883 8164, info@kleinlibertasteater.co.za or www.kleinlibertasteater.co.za Wed 31 Aug | Plush Wed 14 Sep | Wrestlerish: Album Launch Fri 16 Sep | Playtime Sat 17 Sep | Ashtray ELectric & Pretty Blue Guns and La.Vi Fri 23 Sep | Karen Zoid Mercury Live Lounge: 43 De Villiers Street Cape Town, (021) 465 2106 or www.mercuryl.co.za Fri 5 Aug | Graeme Watkins Project | 21h00 Fri 12 Aug | Gnolium, Lyderkane, Bicycle Thief | 21h00 The Black Dahlia: Cnr Ravenswood and Trichardt rd, Boksburg, Devyn 071 351 6790, info@theblackdahlia.co.za or www.theblackdahlia.co.za Wed 3 Aug | Mid-Week Warriors: The Hammer of Redemption, Red Helen, 40 Day Journey, Adorned in Ash Fri 5 Aug | Through This Defiance (USA), Reason to Live, Guns Go Bang, Die the Betrayer, Brainwreck Fri 19 Aug | Chromium, Facing the Gallows, 7 stukkesilwer, Candi Black Sat 20 Aug | Sinister Carnival Themed night Fri 26 Aug | The Sunday Punchers, The Mean Streets, Misled, The Carniwhores Sat 27 Aug | Isochronous – And more!!!

Wed 31 Aug | Pigs Night (Free drinks before Midnight) Awesome Music Fri 2 Sep | Green Party | Come dressed in green and get free entry & prizes Sat 10 Sep | Beer Fest – Day festival – Loads of Bands.

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